The 3rd edition of the International Digital Art Biennial (BIAN) starts from June 3 to July 3 with a series of soft openings beginning April 16.
This year’s theme is AUTOMATA: Art made by machines for machines, with the BIAN looking at the impact of artificial intelligence in art and culture, with a program of robotic, immersive, virtual reality, augmented reality, sculpture and digital video works.
This year, the BIAN presents its major exhibition AUTOMATA at Arsenal Contemporary Art, a venue dedicated to presenting, promoting and developing contemporary art, from June 3 to July 3, 2016. Canadian and international artists will offer a large palette of eclectic works. BIAN audiences will discover a new generation of creators and established artists who effortlessly combine visual art processes with digital technologies to create the art of today and tomorrow.
Seamless Visions: New Textiles and Wearable Technologies
Ancient in origin, textiles have enabled our civilization to grow and prosper for thousands of years. Yet, these prehistoric beginnings have little impact on their continued significant role in the development of future technologies. The evolution of textiles parallels our innate fascinations with body augmentation and pattern recognition and has birthed new industries and subcultures in every generation. From architecture and medicine to fashion and space travel, textiles are a literal and figurative thread that binds the aspirations of humankind.
The 19th Annual Subtle Technologies Festival will build on this lineage, showcasing leading research and expressive applications of the art and science of textiles. Through a wide range of programming, the Festival will create opportunities for the critical exchange of knowledge about experimental processes, cultural trends, socioeconomic challenges and philosophical implications. In geographical context, the Festival will also draw upon Toronto’s increasing role as an international hub for innovations in wearable technology.
Topics and sub-topics for programming include:
+ Prosthetics and cybernetics
+ Second skins— devices & fabrics for protection
+ Wearable technology in posthumanist studies
+ Fashion for assistive devices
PATTERN-RECOGNITION & ALGORITHMIC MAKING
+ Weaving, as it relates to other disciplines
(cognitive science, biology, computer science)
+ Computerized textile design and production
+ Informatics through fabric (coded textiles)
+ Research and development of synthetic fibres
+ Smart textiles and responsive environments
+ 3D-printed textiles and 3D knitting
+ Fabrics for physical computing
ACTIVISM AND SOCIAL CRITIQUE
+ Biometric clothing and devices (and the politics therein)
+ Wearables that disrupt surveillance (active and passive)
+ Critical responses to the appropriation of indigenous dress
+ Bio-hacking and security concerns around wearables
On May 13, 2016, the festival will include Future Proof, a wearable technology fashion show.
Established in 1987, the Images Festival is the largest festival in North America for experimental and independent moving image culture, showcasing the innovative edge of international contemporary media art both on and off the screen. Images has presented thousands of vanguard media-based projects in its 28-year history and is committed to an expanded concept of film and video practice: Alongside film and video screenings (ON SCREEN), the festival presents groundbreaking live performances (LIVE IMAGES), media art installations (OFF SCREEN) in local galleries and new media projects by Canadian and international artists. Images provides audiences with an annual array of contemporary moving image culture.
Get ready for our fourth annual gala! it will once again showcase wearable technology fashion from teams including Canadian professional designers and engineers, emerging designers and international designers. The combination of skills and ideas creates stunning results and groundbreaking fusions of light, fashion and performance.
From awe-inspiring responsive runway dresses to scientific wearables with practical applications, MakeFashion designers are inspired by fashion with functionality.
MONTRÉAL EN LUMIÈRE is one of the largest winter festivals in the world, an annual celebration registering 1 300,000 festival site visits from fans experiencing the joy of Montreal wintertime through a unique program combining performing arts, gastronomy, free outdoor family activities, and a full night of exquisitely original discoveries!
Every year, the festival closes by kicking off the “Nuit Blanche” celebrations around the world. And what a kickoff! The Nuit blanche à Montréal invites locals and tourists to enjoy some 200 mostly free activities, all of them linked by a free shuttle service. Whether onstage or onscreen, in the great outdoors or under the spotlights, in music or in story, installations, exhibitions or dance, the city lights up the night with a full spectrum of fun and festive discoveries for all!
Once Is Nothing is Canada’s first exhibition dedicated to exploring drones as a subject, material, and tool of artistic production. Through their engagement with the uses and perspectives of drones, the artists of Once Is Nothing generate a paradoxical view of both the infallibility and invincibility of drone technology while questioning borders, surveillance, identity, and place.
The exhibition includes new and contemporary works in video, sculpture, and photography by Lawrence Bird (Winnipeg), David Bowen (USA), IOCOSE (UK/Italy/Germany), Joe Ford (USA), Mona Kamal (USA), and Morgan Skinner (Toronto).
New video work by Laura Millard (Toronto) will be visible from the street in our window galleries every evening throughout the duration of the exhibition.
Trinity Square Video is pleased to present, Material Speculation, Morehshin Allahyari’s first solo exhibition in Canada. The exhibition is titled after her ambitious and widely anticipated series Material Speculation: ISIS, which we will be showing for the first time in its completed form. Also on view is Allahyari’s collaborative video with Daniel Rourke, The 3D Additivist Manifesto.
Material Speculation presents radical propositions for 3D Printing that inspect petropolitical and poetic relationships between 3D Printing, Plastic, Oil, Terrorism, and Technocapitalism. Allahyari addresses complex contemporary cultural and political dynamics the sophistication and nuance it deserves, weaving multiple dynamics together for a holistic image of contemporary relations with objecthood and ideology. The exhibition addresses the precarity of material and digital artifacts, the location of authenticity, the transformative potential of additive production, the malleability of cultural icons, the geo-politics, collective trauma from the loss of non-human bodies, emotional investment in abstract and specific objects, the ethical and political dimensions of new technologies, and archival practices in both historical and contemporary contexts.
More information on Material Speculation: ISIS
Material Speculation: ISIS is a digital fabrication and 3D printing project focused on the reconstruction of selected (original) artifacts (statues from the Roman period city of Hatra and Assyrian artifacts from Nineveh) that were destroyed by ISIS in 2015. Material Speculation: ISIS presents a practical and theoretical proposition for the preservation of artifacts while also proposing 3D printing technology as a tool both for resistance and documentation. It intends to use 3D printing as a process for repairing history and memory.
Material Speculation: ISIS, goes beyond metaphoric gestures and digital and material forms of the artifacts by including a flash drive and a memory card inside the body of each 3D printed objects which contains information, maps, and images gathered about the artifacts. Like Time Capsules, each object is sealed and kept for future civilizations.
As it explores the hottest topics in Vancouver today—housing affordability, urban density, mobility, and public space—Your Future Home invites people to discover surprising facts about the city and imagine what Vancouver might become. This major exhibition engages visitors with the bold visual language and lingo of real estate advertising as it presents the visions of talented Vancouver designers about how we might design the cityscapes of the future. Throughout the run of the exhibition, visitors can deepen their experience through a series of programs, including workshops, happy hours, and debates among architectural, real estate and urban planning experts.
The PuSh International Performing Arts Festival is one of Vancouver’s signature events. Produced over three weeks each January, the PuSh Festival presents groundbreaking work in the live performing arts.
The PuSh Festival expands the horizons of Vancouver artists and audiences with work that is visionary, genre-bending, multi-disciplined, startling and original. The Festival showcases acclaimed international, Canadian and local artists and mixes them together with an alchemy that inspires audiences, rejuvenates artists, stimulates the industry and forges productive relationships around the globe.
The Festival is a broker of international partnerships, a meeting place for creative minds, a showcase of Canada’s best and an incubator of brilliant new work.
InterAccess is pleased to present When I Breathe the Ocean Curls, a performative environment by Lauren A.M. Scott. Scott is the recipient of the 2015 InterAccess Media Arts Prize. This prize, which InterAccess has sponsored for nearly twenty years, is awarded to a graduating Integrated Media student at OCAD University whose work exhibits innovation in new media practice. As an artist integrating kinetic and electronic elements into her performance practice, Scott is a deserving recipient of the 2015 award.
When I Breathe the Ocean Curls utilizes Scott’s physical body to extend her breath into space. The artist wears a stretch sensor around her torso, and as her chest rises and falls with breath, six small electronic fans produce the effect of wind as she exhales. Scott’s breath becomes the force that connects her to the audience as an invisible extension of touch.
Scott will perform this work four times throughout the exhibition period. In the intervening days, visitors to the gallery can view video documentation of her performance and engage with its physical trace.
An essay by Francisco-Fernando Granados accompanies the exhibition.